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Sony 6K Full Frame PXW-FX9/FX6 Leak

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43 minutes ago, IronFilm said:

Damn it Sony!!!! 

 

Why do you have to inflict the XDCA back on us once again??? 

 

Bet that means the stock camera won't do timecode either ?

What would be cool is if it did 12 bit raw through the sdi outta the box. And if you want the 16 bit raw u have to buy the xdca.

Its still cheaper than a used F5 with the AXS R7 lol

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

Wow. If this press text is telling us everything, this is a pretty lame update from Sony. Basically a full-frame FS7 (from 2015). That's it. 

Not sure how this competes with the C500 II, which has full-frame 6k raw up to 60fps, 4k raw up to 60fps, as well as all the delicious full-frame 10-bit codecs in 4k and 2k. I guess the FX9 does have 120fps in 4K, but only with an added module that will surely cost an extra $3-5k. 

Sony has really started to rest on their laurels since the FS7 and A7SII. Not a meaningful update from them since those two cameras. 

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1 hour ago, currensheldon said:

Wow. If this press text is telling us everything, this is a pretty lame update from Sony. Basically a full-frame FS7 (from 2015). That's it. 

Not sure how this competes with the C500 II, which has full-frame 6k raw up to 60fps, 4k raw up to 60fps, as well as all the delicious full-frame 10-bit codecs in 4k and 2k. I guess the FX9 does have 120fps in 4K, but only with an added module that will surely cost an extra $3-5k. 

Sony has really started to rest on their laurels since the FS7 and A7SII. Not a meaningful update from them since those two cameras. 

Also for the first time it has PDAF and some type of software IBIS. Plus Venice mojo and higher dynamic range. Some big updates there. 

It will also be significantly less money than the C500 II, so I say it's competitive and will sell really well. 

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2 hours ago, Oliver Daniel said:

Also for the first time it has PDAF and some type of software IBIS. Plus Venice mojo and higher dynamic range. Some big updates there. 

It will also be significantly less money than the C500 II, so I say it's competitive and will sell really well. 

Leaks say it is $10k with FS7 trade-in, so I'd guess it will be close to $14-15k, so not a significant price difference at that point. Not saying it won't be an excellent camera (most are these days), but I would argue even against Venice, Canon's Cinema EOS line has overall better color and image. And C500II also has the digital/software IS and will surely match it in dynamic range or be so close it doesn't really matter. Also, Canon has their dual pixel autofocus, which I still think performs better than anything Sony has released.

Yes, it does have a few more updates than the FS7 (Venice color and AF), but nothing big like the C500II has internally (6k raw, 4k raw, 6k 60fps, etc). I just thought the FX9 would at least match the Canon on specs. 

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11 minutes ago, Mako Sports said:

was unlisted on B&H YT channel

So you pay first and then get piece by piece through firmware updates..... is a new form of Crowdfunding?

Basically the fw of the camera is far from finished....

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Just now, gt3rs said:

So you pay first and then get piece by piece through firmware updates..... is a new form of Crowdfunding?

Basically the fw of the camera is far from finished....

I believe the Venice +  F55/F5 systems run the same way 

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19 minutes ago, zerocool22 said:

Not sure if they are going to sell a lot of these, the pricepoint is just way too high. 

The image looks nice though!

Depends on the market as someone that shoots sports I see FS7s more than any other Super 35 ILC.

I think with the autofocus + vari ND, sports networks are going to buy these things up. The 16 bit raw basically kills the F5 and the F55. 

The F55s only trick is that electronic global shutter.

I cant speak for those that work in low end features/Netflix/BBC Wildlife stuff

Alexa Mini is still FAR and away the king in Hollywood atm.

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4 minutes ago, Mako Sports said:

Depends on the market as someone that shoots sports I see FS7s more than any other Super 35 ILC.

I think with the autofocus + vari ND, sports networks are going to buy these things up. The 16 bit raw basically kills the F5 and the F55. 

The F55s only trick is that electronic global shutter.

I cant speak for those that work in low end features/Netflix/BBC Wildlife stuff

Alexa Mini is still FAR and away the king in Hollywood atm.

That is true, but for most small freelancers and hobbyists it is way out of our league. Prolly means the A7S III will not have any form of internal raw either. 
Arri is do damned good, that nobody can create a camera with an image as nice as the Alexa 10 years later (high end or low end). Maybe Zcam/kinefinity/bm might surprise us in some time to come. I think prime time for RED is over. 

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The image does look nice but if you want to record raw this camera is a bit of a mess - you need the  XDCA-FX9 extension unit which is $2500 plus  a recorder. Electronic vari nd is great but if you are willing to pay the extra, the c500 MK2 looks a better thought out camera.

The new  e-mount lens FE C 16-35mm T3.1 G could be interesting though as it looks like it has both proper manual control (no focus by wire) and servo and also AF - best of both worlds

https://www.newsshooter.com/2019/09/13/sony-16-35mm-t3-1-e-mount-servo-lens/

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No internal RAW, external RAW needs a add-on module, no 6k recording internal or external, DCI coming later, 60p coming later. Specs are not great hopefully the image quality will be

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Nice upgrade but some strange omissions indeed. No touchscreen for that A9 AF also seems like a gross oversight (when the $6,500 C200 does it). 

Guess we’ll now have to wait & see what the FX6 will bring to the table..

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1 hour ago, ntblowz said:

A7SIII is never gonna get 6k if FX9 not getting one, S1H is the king of mirrorless video for now.

You forget BMPCC6k ( and upcoming Red Komodo).

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4 hours ago, Mako Sports said:

 

I found that video not very impressive to sell a 10k camera , it could have been shoot a A7iii, the colors and the DR look very similar from what I got from the A7iii I had.

Since I switched to a ursa G2 I realized that sony not only have issue with colors, but also with contrast, the skin color range have a lot more of contrast on sony camera, that create a harsh impression of sharpness and make the structures of the facial features more visible, that rarely faltering to anyone.

I get the trend/push for full frame, I like the look, but in restricted professional use it is more of an issue than a bonus, It s much harder to keep things in focus, you need to close more your aperture, so then you either need more light or push your iso....the autofocus will help in some case but still, when it jump focus your take is ruined, I found a subject going slightly in and out of focus less disturbing than a jumpy autofocus.

I find those mid-range full frame pro camera odd, for super high end production why not ( but then you go for a venice/C700/Alexa LF) but for a small crew I have more doubts.
 

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